Henry Stobart

Henry Stobart is Reader in Music/Ethnomusicology in the Music Department of Royal Holloway, and founder and co-ordinator of the UK Latin American Music Seminar as well as Associate Fellow of the Institute of Latin American Studies. He studied tuba and recorder at Birmingham Conservatoire, performed with a number of baroque ensembles, and taught music in several schools, before completing a PhD (1996) at St John’s College, Cambridge focused on the music of a Quechua speaking herding and agricultural community of Northern Potosí, Bolivia. Following a research fellowship at Darwin College Cambridge he was appointed as the first lecturer in Ethnomusicology at Royal Holloway in 1999. His books include Music and the Poetics of Production in the Bolivian Andes (Ashgate 2006), the edited volume The New (Ethno)musicologies, (Scarecrow, 2008), Knowledge and Learning in the Andes: Ethnographic Perspectives, co-edited with Rosaleen Howard (Liverpool University Press 2002), and the interdisciplinary volume Sound, co-edited with Patricia Kruth (Cambridge University Press, 2000). Henry is also active as a professional performer with the Early/World Music ensemble SIRINU, who have given hundreds of concerts and recorded on many European radio networks since their first Early Music Network tour in 1992. After writing extensively on rural musical practices in the Bolivian Andes, much of Henry’s more recent research has focused on indigenous music video (VCD) production, music “piracy,” and the cultural politics of this region. Together with Michelle Bigenho (Colgate University, USA), he co-directed a National Science Foundation funded project Cultural Property, Creativity, and Indigeneity in Bolivia in collaboration with Juan Carlos Cordero (Bolivia) and Bernardo Rozo (Bolivia). This Bolivia-based workshop aimed to facilitate discussions about alternatives to existing intellectual property regimes. He is co-writing several articles on intellectual property and heritage issues with Michelle Bigenho with whom he has been awarded an ACLS Colloborative Fellowship (12 months from July 2015) to write a book on the theme of Beyond Indigenous Heritage Paradoxes in Evo Morales’ Bolivia.

Anthea Kraut

Lawrence Liang

Roopali Mukherjee

Minh-Ha T. Pham

Henry Stobart

Madhavi Sunder

Conference News

Why does IP law require a critical race lens today? A critical race lens can illustrate major gaps in traditional doctrinal and theoretical IP approaches. African-American creators have been disadvantaged as the "Invisible Men"--and women--of…

Why does IP law require a critical race lens today? IP law requires a critical race lens today because the very foundations of intellectual property –conceptualizations of property, of possession, of artistic expression – cannot…

How does your work contribute to re-imagining IP in the twenty first century? I am interested in tracing institutional forms and systems in global intellectual property legal regimes following earlier periods of decolonization and intensive…

Why does IP law require a critical race lens today? The law is never neutral. For critical observers, this is to state the obvious; for everyone else, this is too often a surprise. Legislatures strive…

We are excited to announce a performance by Chinatown Dance Rock band and trademark renegades, The Slants! Portland’s The Slants are the first and only all-Asian American dance rock band in the world. They offer…